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Lot 1781

A Chinese, for the Thai market, vase and cover table lamp decorated with temple lions on a black ground, overall 37cms high.

Lot 187

A large French bronze and marble figural table lamp in the form of a cherub holding a torch aloft, 48cms high.

Lot 1878

An elm plank top kitchen table with single drawer, on square tapering legs, 86 by 152cms.

Lot 1880

An early 19th century satin birch work table with two drawers and two faux drawers, on square column and quatrefoil base, 55cms wide.Condition ReportThe top has some ring marks, other marks and has sun fading, has original handles and lock, structure good and has original feet, good overall condition

Lot 1895

A Victorian walnut extending dining table with one extra leaf, on turned reeded legs, 102 by 142cms extended.

Lot 1897

A 19th century mahogany demi-lune card table in the Sheraton taste, on square tapering legs, 92cms wide.

Lot 191

A early 20th century ivory dressing table set, brush, mirror, jars etc.

Lot 2

A rectangular garden table on cast iron supports, 109cms wide.Condition Report62cms depth, 109cms wide and 73cms high.  There is general wear and it is of solid construction.

Lot 248

An early 20th century ivory dressing table box and cover of compressed globular form, 13cms diameter; together with an ivory figure of a seated Buddha, 13cms high; and other items.

Lot 250

A brass table gong, the gong decorated with a central star within an Islamic script border, 52cms wide.

Lot 257

A late 19th / early 20th century silhouette picture depicting a young girl playing with her toys at a table, framed and glazed. image 5.5 by 5cm

Lot 287

A Victorian Berthold Muller novelty miniature silver group depicting two cherubs seated and eating at a table, the legs a/f; together with a miniature silver bust of a General and an iron doll's house bust of Schiller (3).Condition ReportThe cherub group is missing  a leg off one chair and a leg and a half off the other, full Victorian Chester import marks for 1898 and maker mark for B Muller & Son (Berthold Muller)The miniature bust is unmarked

Lot 292

A silver octagonal sugar caster; together with a silver toast rack; a silver topped dressing table jar and a Bitters bottle, total weighable silver 167g (4).

Lot 323

An Edwardian silver mounted cut glass desk inkwell engraved with two crests, 9cms high; together with a sterling silver table top cigarette box, 9cms wide (2).

Lot 324

A silver two-division table top presentation cigarett box engraved with crests and signatures, London 1931, 18cms wide.

Lot 463

A Chinese hardwood table stand with pierced carved decoration and embroidered central panel depicting a garden scene, 39cms wide.

Lot 540

A Chinese famille rose ginger jar and cover converted to a table lamp, 29cms high; together with another Chinese jar and cover decorated with insects and foliage, 28cms high (2).

Lot 548

A pair of famille rose vases of hexagonal form decorated with figures and calligraphy with applied chilong, converted to table lamps, vase height 30cms, overall 39cms (2).Condition Reportvase one - chip to upper rim and large restored chipvase two - two chips to the upper rimboth vase have wear to the gilding and the stands and wood to the necks to hold the electrics both look to be glued to the vases and probably drilled to the bases.

Lot 553

A pair of Chinese Republic style vase lamps decorated with robed ladies seated around a table, overall 36cms high.Condition Reportgood overall condition no chips or cracks, drilled to bases

Lot 1164

An Indian silver plated table lamp in the form of a hoopee bird, 26cms high.

Lot 1166

A Chinese Imari pattern cylindrical vase with four character blue mark to the underside, converted to a table lamp (a/f), 34cms high.

Lot 1253

A gilt metal and crystal drop table lamp

Lot 1254

A Victorian gilt bronze gothic revival table lamp with a glass reservoir for oil and decorated with quatrefoils and pinnacles, above a reeded stem, on a conforming base, on tripod feet decorated with lions, later fitted for electricity, 53cm high (max), together with a pair of gilt brass Gothic style bottle holders, each marked with a Royal Coat of Arms and inscribed 'Patent', each containing a cut-glass bottle (one damaged) (3). Provenance: From the collection of Edward Croft-Murray CBE (1907-1980).Condition ReportThe lead enters through an existing hole, no additional holes have been made.

Lot 1255

A French plated and brass three-column table lamp, overall 76cms high.

Lot 1272

In the manner of Germain Landrin, an 18th century style kingwood poudresse table with rosewood crossbanding, 48cms wide.

Lot 1276

A George IV mahogany sofa table, the drop-leaf top with satinwood banding two panelled frieze drawers, with false fronts to the reverse, on reeded lyre shape supports united by a turned stretcher, and brass lion's paw sabot and castors. 72.3cm high, 68.8 by 150.6cm (open) Provenance: From the collection of Edward Croft-Murray CBE (1907-1980)

Lot 1277

A George III mahogany serpentine side table in the manner of Gillows, the top with satinwood banding, above a frieze drawer, inlaid with ebonised and boxwood banding, the square tapering legs with canted corners. 77.8cm high, 107cm wide, 55cm deep. Provenance: From the collection of Edward Croft-Murray CBE (1907-1980)

Lot 1280

A Regency satinwood Pembroke table on square tapering legs, 70cms long.Condition Reportwidth closed 49cmwidth open 99cmheight 70cm.the top is sun bleached and has a shrinkage split the full length. crossbanding veneer has been re-glued in several places.joint secure and original casters

Lot 1281

A two-tier mahogany wine table on turned column and tripod base; together with a similar smaller (2).Condition ReportTwo tier table - height 84cms, diameter 46cms and 35cms; small table height 52cms and diameter 30cms.  Both have general wear commensurate with age, no major issues, good overall condition.

Lot 1284

A Chinese hardwood kang or low table with carved decoration, 90cms wide.Condition ReportDepth 46cms, height 38cms.

Lot 1288

A mahogany vitrine or display table, 51cms wide.

Lot 1290

A 19th century mahogany tilt-top occasional table, the rectangular top on turned column and tripod base, 56cms wide.

Lot 1295

A 19th century mahogany Pembroke table, 90cms wide.

Lot 1298

A 19th century mahogany tea table on square tapering column and quatrefoil base

Lot 1303

A late Victorian or Edwardian mahogany table top cabinet with twin glazed panel doors enclosing a shelved interior, 52cms wide.

Lot 1304

An Arts & Crafts style oak kneehole dressing table with an arrangement of four drawers, 97cms wide.

Lot 94

Workshop of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652)."St. Francis of Paula" ca.1630.Oil on canvas.Measurements: 120 x 103 cm; 128 x 112 cm (frame).In this canvas is represented San Francisco de Paula of half body, in pensive position, with the glance directed upwards, in the direction of a halo of light that emanates from the top right part of the composition and in which the word "Caritas" can be read. He appears dressed in dark sackcloth, typical of his hermit character, accompanied by the staff, his main iconographic attribute, and with the Holy Scriptures in front of him, also illuminated by a spotlight that falls directly on them. It is a work perfectly framed within the naturalistic baroque, heir of José de Ribera, starring a totally earthly man, with a face far from any idealization. San Francisco de Paula is presented as a real person, with personalized features typical of the individualized study, furrowed by deep wrinkles. As usual within the naturalistic baroque, the composition is simple and clear, with the character in the foreground against a neutral and dark background that enhances his physical presence. Apart from the human model and this composition, the lighting is also clearly naturalistic, a tenebrism derived directly from Ribera that is based on an artificial, directed spotlight that penetrates the painting through the lower left corner and falls on the face and hands of the saint, also illuminating the writings and the table in the foreground, leaving the rest in a nuanced penumbra, very worked, as we can see in the perfectly achieved mantle, characterized by its realism, despite being enveloped in shadows. The chromatism is also typical of this school, very limited around the ochers, earthy, reflecting the warm and naturalistic atmosphere.Regarding the subject, it represents Saint Francis of Paola (Calabria, Italy, 1416-Tours, France, 1507), hermit founder of the Order of the Minims and saint of the Catholic Church in the Italian region of Calabria. Legend has it that St. Francis became seriously ill of the eyes, reason for which his parents entrusted themselves to St. Francis, curing their son's eyes. To be grateful for the miracle, at the age of fourteen he went on pilgrimage to Assisi, thus becoming a hermit. For five years he withdrew to the mountain, feeding only on water and wild herbs, sleeping on the hard ground, with a stone as a pillow. He was canonized in 1519, only twelve years after his death, during the pontificate of Pope Leo X. In the early years of the 16th century, the Order of the Minims entered Spain, acquiring great diffusion due to the values of Franciscan preaching that they spread, which, linked to the recent canonization of the saint and his way of life and poverty, strongly influenced the Spanish Christian population.Due to the aforementioned formal characteristics, this painting can be related to the circle of José de Ribera, a key painter for the development of the naturalistic baroque not only in Spain, but also in Italy and in other national schools, given the great diffusion of his work. Called the Españoleto, he was a key master of the Spanish Baroque, and in general of the history of art at the European level. Although no documentary sources or evidence of his youth are preserved, it is believed that he trained with Francisco Ribalta in Valencia, after which he went to Italy, first to the north and later to Rome, where he learned first-hand about the classicists and the Caravaggesque tenebrism of the Dutch who settled there. Finally he settled in Naples, where he arrived in 1616. Then began his period of maturity and splendor; Ribera enjoyed fame and a large workshop, and his works spread throughout Europe through engravings.

Lot 67

ZACARIAS GONZÁLEZ VELÁZQUEZ (Madrid, 1763 - 1863) "Annunciation. Oil on canvas. Re-drawn. It has slight repainting. Preserves frame following Carlos IV style models. Size: 17 x 21 cm; 26.5 x 30.5 cm (frame). The scene is set in a private interior, as can be deduced by the presence of the furniture, the chair and the lectern that precedes the virgin, although this interior merges with a break of glory in the upper area of the canvas. The work shows a certain influence of baroque models, despite being a work made in a later period. The two large figures are placed in the foreground: the Archangel Gabriel, whose clothes are moved by the wind to suggest that he is flying, raises one of his hands towards the sky and points towards the dove of the Holy Spirit, which appears wrapped in light, next to the figure of God the Father. Mary, dressed in a pink tunic and a dark blue mantle, bows her head slightly with humility and clasps her hands against her chest, gestures that define her intention to accept the message that is being transmitted to her by the Tariff. Next to him, a low table with a book on which he rests his hands refers to the instruction that the Virgin would have received. It is worth mentioning that the archangel carries several white flowers, specifically a bouquet of lilies, allusive to the purity of the Virgin and which are one of the most common iconographic attributes in the representation of this scene. Son, brother, brother-in-law and father of painters, Zacarías González Velázquez developed a career closely linked to the Academia de Bellas Artes de San Fernando, of which he became general director in 1828. The influence of the artists of his family and that of the Academy would be, together with his courtly career, the two key factors in the development of his life and work. Zacarías joined the Academy of San Fernando in 1777, under the guidance of his father. That year he began his training, and the following year he was awarded first prize in the second class of painting. His studies, plagued with success, concluded in 1782, and since then the painter accepted a series of private commissions, including the series of paintings of the life of St. Francis, made in 1787 for the church of San Francisco el Grande in Madrid. The decade of the eighties was for Zacarías González Velázquez a period of intense work, which culminated with his appointment as an academician of San Fernando in 1790. Later he was appointed assistant professor, a position he held from 1793 to 1807. During these years of plenitude he achieved the position of Honorary Chamber Painter, in 1801, and the following year that of Numerary Chamber Painter. By then he had already made his most important works in fresco, among them those of the Chapel of San Isidro in Madrid (1789) and the Royal Oratory of the Caballero de Gracia in the same city (1792). In the early years of the 19th century he painted the frescoes of the Casa del Labrador del Escorial and the King's Room in the Palace of Aranjuez. He also carried out important religious commissions, as well as portraits of his family and himself, the royal family and some of the most distinguished gentlemen of the time. In 1807 he was appointed lieutenant director of painting at San Fernando, although his ascending career at the Academy was paralyzed by the French invasion and the War of Independence. During this period Zacarías González Velázquez will remain in Madrid, joining the Chamber Painters of José I, although after the return of Fernando VII he will have no problems to rejoin the service of that monarch. Thanks to the protection of the Infante Carlos María Isidro de Borbón, his career continued to rise.

Lot 6

Italian school; second half of the 17th century. "Christ and the sinner". Oil on canvas. Re-colored. Presents repainting and jumps in the painting. Size: 96 x 133 cm. In a sumptuous interior dominated by an architecture of classic character, a great banquet is arranged. Around a table you can see a multitude of characters that are almost entirely men. The scene is articulated in a narrative way, bringing together different moments, independent of each other on the same plane. In the center is the table, surrounded by the diners, and at the sides are two men who seem to be the protagonists. In both cases the two are being attended, one reclining on the left side receives a woman who holds one of his feet, while the other, older, defined by his white beard, is being assisted by some young people who are washing his feet. The thematic characteristics of the scene invite us to think of the biblical passage narrated by Luke (7.36.50), in which he recounts Jesus' encounter with a prostitute. Following the words of the Bible: "36. One of the Pharisees asked him to eat with him; and he went into the Pharisee's house and sat down at the table. 37. And behold, there was a woman in the city who was a sinner, and when she heard that Jesus was sitting at table in the Pharisee's house, she brought an alabaster box of ointment; 38. And she stood behind him at his feet, weeping, and began to water his feet with tears, and wiping them with the hair of her head, she kissed his feet and anointed them with the ointment. 39. But when the Pharisee who had invited him saw this, he said to himself, "If this man were a prophet, he would know who and what kind of woman she is who is touching him, for she is a sinner. 40. And Jesus answered and said unto him, Simon, I have something to say unto thee: and he said, Say, Master. 41. A certain moneylender had two debtors; one owed him five hundred denarii, and the other fifty; 42. and when they had nothing to pay, he forgave them both freely. Which of them then will love him more? 43. Simon answered and said, I suppose the one to whom he forgave more. And Jesus said unto him, Thou hast judged aright.44. And he turned to the woman, and said to Simon, Seest thou this woman? I came into your house and you gave me no water for my feet, but she has watered my feet with her tears and dried them with her hair.45. You gave me no kiss, but she, since I came in, has not ceased to kiss my feet.46. You did not anoint my head with oil, but she has anointed my feet with ointment.47 Therefore I tell you that her sins, which are many, are forgiven, because she loved much; but he who is forgiven little, loves little. 48. And to her he said, "Your sins are forgiven. 49. And they that sat at meat with him began to say among themselves, Who is this that even forgiveth sins? 50. But Jesus said to the woman, Thy faith hath saved thee; go in peace.

Lot 20

Empire style bedside table. Fernandine era. ca.1820Mahogany wood.Ornaments in gilded carving.Marble top.With casters.Measurements: 78 x 38 x 34 cm.Empire style bedside table. It presents characteristics typical of Spanish furniture during the reign of Ferdinand VII, in terms of the desire to emulate elements of Egyptian and Greco-Roman inspiration, which here translates into the combination of gilded carvings with fine woods and ebonized parts. Thus, the cylindrical mahogany body rises on claw feet (an element with an imperial air), adorned with vertical moldings topped with bird heads in gilded carving and a plumage-decorated base. A zoomorphic mask acts as a handle for the small drawer. The top is made of marble.

Lot 19

Garrison with clock and candlesticks; France, XIX century.Onyx and bronze.Measures: 44 x 28 x 15 cm (clock); 40,5 x 18 x 18 cm (candlesticks).French 19th century furniture composed of a table clock and two matching candlesticks of four lights. The three pieces combine in their structure gilded bronze and onyx, of a beautiful marbling. The clock follows an architectural design, with a stepped base in slope, main body flanked by four columns with base and capital in bronze, upper entablature with frieze and cornice and upper finial composed of the round figure of a lion resting a paw on a sphere, symbol of power.The base is unornamented, derived from Empire models, but under the clock face we see a bronze plate cut, fretworked and worked in relief, with cornucopias, sphinxes and a central laurel wreath. The dial is of great richness, in gilded bronze with chiseled central rosette, Roman numerals in black and openwork hands. The entablature is also decorated with classical bronze motifs.The candelabra have a stepped base to match that of the clock, although the columns have a papyrus-shaped capital, Egyptian-inspired, different from the columns that adorn the centerpiece. Above this capital rises the body of lights, entirely made of bronze, with vegetalized turnstones, cornucopias and lighters in the shape of a classic vase.

Lot 38

Tilt-top table. George III, England, late eighteenth century-pps. s.XIX.Mahogany.Measurements: 70 x 130 x 120 cm.The tilt-top table became popular throughout Europe in the 18th century. It consists in the possibility of folding the table top in order to lean it against the wall and save space. This mahogany table, from the George III period, is characterized by the simple robustness of its lines. Simple forms and measured proportions are typical of the Regency style. The support opens on four legs ending in casters. The top is rectangular but with rounded corners.

Lot 43

Majorcan table. Charles III. Spain, mid eighteenth century.Rosewood, lemongrass and fruit woods.Measurements: 77 x 103 x 73 cm.Majorcan table in rosewood from the Carlos III period and rococo style, as evidenced by the arched cabriole legs joined with crosspieces of molded and sinuous profiles, combining curve and countercurve in its design. The rhythmic sinuosity is prolonged and intensified in the skirt, cut in subtle meanders. A beautiful marquetry work in fruit wood decorates the waist, the drawers and the top, based on stylized intertwined vegetal bouquets. The elegant piece of furniture has a light design. It consists of three drawers.In 18th century Spain there was a great evolution, from an ordinary piece of furniture around 1700 within a conservative panorama, to a splendid piece of furniture, of great quality and artistic personality, in the middle of the century. The change took place with Charles III (queen between 1759 and 1788), in view of the need to furnish the new palace. The level of demand, of quality, in the furniture increases a lot. With Charles III we will see the last stage of Rococo furniture, a furniture that, unlike what happens in the rest of Europe, takes Italy and not France as a reference.

Lot 87

KAI KRISTIANSEN (Denmark, 1929).Writing table "Model 70", 1960s.Teak wood.Measurements: 73 x 172 x 85 cm.Teak wood desk, a 1960s design by Danish Kai Kristiansen. It stands on stipe-shaped legs, stylized and unornamented, connected to each other by crossbeams. It has a very sober, rectangular tabletop of considerable thickness, under which are two drawer bodies decorated with diagonal teak slats. Its rear part has two doors. It is a piece of furniture characteristic of Danish furniture of the sixties and seventies, characterized by a perfect balance between form and function, elegance and rationality.Kai Kristiansen is one of the most prominent designers of the Scandinavian scene of the mid-twentieth century, and his creations are very representative of Danish furniture of the time. He created all kinds of furniture objects, including desks, tables, sideboards, chairs, bar furniture and TV stands, using mainly teak, rosewood and rosewood. One of his best known and most widespread designs worldwide is the "Fm reolsystem", a shelving system that was conceived to offer maximum flexibility, since it allows endless possibilities for combining wall shelves and cabinets to fit seamlessly into any wall in any home. KaiKristiansen was trained in Copenhagen, and worked for furniture designer KaareKlint until 1950, before setting up on his own. He would later collaborate with the most prominent creators of contemporary Scandinavian design, such as Kjaersgaard and Fritz Hansen.

Lot 100

DYRLUND conference table. Denmark, mid-20th century.Rosewood.Measurements: 73 x 250 x 125 cm.Table in rosewood made by the Dyrlund carpentry, an example of the taste for natural wood and the heritage of traditional cabinetmaking typical of Danish design from the middle of the last century. It presents a sober and simple structure, enormously refined, characterized by a stylized, minimalist structure determined by straight lines softened by slight curves. It is entirely made of rosewood, whose expressive grain, especially noticeable on the top, is perfectly balanced with the fluidity of the structural lines.Founded in 1960, Dyrlund prides itself on offering only the finest quality furniture for high-end homes and executive offices. Dyrlund's clientele can be found all over the world and includes many heads of state, a selection of lords and various personalities, such as Mikhail Gorbachev.

Lot 86

Tang dynasty figure. China, 619-906 AD.Terracotta.Measurements: 23 cm.The Tang dynasty is considered by historians as a moment of splendor of Chinese civilization, equal or even superior to the Han period. Arisen after a period of despotism under the reign of the cruel Yang Di, it was established by Li Shimin who, moved by filial piety, put his father on the throne before assuming himself the function of emperor and founding the Tang dynasty. Stimulated by contact with India and the Middle East via the Silk Road, the Tang empire experienced a creative boom in numerous fields. Buddhism, which had emerged in India at the time of Confucius, continued to flourish during this period and was adopted by the imperial family, becoming an essential part of traditional Chinese culture. Likewise, the development of the printing press extended the diffusion of written works, giving rise to the golden age of Chinese art and literature. The great cultural opening will result in a fundamentally colorful, expressive and very eclectic art, although it continues to be mainly for funerary use, where the artist remains an anonymous craftsman. However, from this moment on, high-fired ceramics, decorated with enamels, will be used as a status symbol, with typologies such as vessels for the table of the litterateur and all kinds of crockery. Terracotta, on the other hand, is still used for grave goods, although stoneware will also be used from now on, especially for the tombs of nobles and scholars. In the funerary pieces, a group to which these bears belong, an important novelty is introduced: the tricolor lead glazes (sancai), although pieces decorated with engobes continue to be made. Within the grave goods there are six typological groups, each of them of great variety: tomb guardians, with warriors and protective beasts; ceremonial figures with their servants; animals of all kinds, such as oxen, camels or horses; musicians and court ladies; utensils and vessels; and finally architectural models. Likewise, three periods can be distinguished. In the first of these, between 681 and 683, figures decorated with engobes predominate, even without glazes, so the pieces presented here could be dated between these years. The second period is between 683 and 779, and is the great period of the sancai, with a predominance of enamels. Finally, until the beginning of the 10th century, pieces with sancai enamels continued to be made, although of lower quality than those of the previous period.

Lot 152

A standard lamp converted from a Regency mahogany occasional table base. H.134cm

Lot 182

A 19th century mahogany triple dressing table mirror with inlaid yew panel and satinwood stringing. H.76cm

Lot 185

A vintage folding table top bar football game. L.100cm

Lot 19

An Indian teak metal bound low table on circular supports. H.39 L.93 D.60cm

Lot 196

A vintage gilt metal and painted table lamp raised on fluted Classical column on decorative socle with stepped base. H.61cm

Lot 223

A vintage gilt metal five branch table candelabra. H.45cm

Lot 252

A gilt metal circular low table with pierced sides and inset mirrored glass top. H.35 D.79cm

Lot 267

A Chinese black lacquered console table fitted with frieze drawers on square stretchered open pedestals. H.92 W.136 D.27cm

Lot 310

A miscellaneous collection of five 19th century and later decanters, one with a silver collar along with a cut crystal dressing table bottle with silver lid and collar. D.30cm

Lot 349

A Georgian style mahogany occasional table on carved tripod cabriole supports. H.73 W.52 D.53

Lot 351

A Georgian style mahogany Pembroke table in the Chinese Chippendale manner. H.70 W.61 D.64 Ex.110

Lot 356

An early 19th century mahogany drop flap Pembroke table fitted with frieze drawer on square tapering supports. H.69 W.96 D.56

Lot 357

A distressed painted farmhouse dining table on square tapering supports and later modern laminated top. H.76 W.153 D.61

Lot 394

A Georgian oak tilt top table on baluster pedestal tripod supports. H.75cm (top in need of some repair as photographed).

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